8 Hollywood Fatherhood: Paternal Postfeminism in Contemporary Popular Cinema Hannah Hamad Contemporary Hollywood cinema is rife with representations of fatherhood since paternalised protagonists have become an increasingly and often overwhelmingly omnipresent feature of popular film in the early twenty-first century, while the currency of fatherhood as a defining component of ideal masculinity has emerged as a dominant cultural trope of postfeminism, and a structuring paradigm of mediated masculinity. This chapter addresses articulations of fatherhood in recent popular cinema which are discursively congruent with the sensibilities of postfeminist culture, exploring the ubiquity and centrality of fatherhood as the anchoring trope of the multiplicity of contemporary Hollywood masculinities. The summer of 2002 marked a watershed moment for what subsequently became the pronounced and widespread paternalisation of Hollywood’s cinematic output, when it saw the release of a small but significant cluster of films, all of which conspicuously pushed issues of fatherhood to the discursive fore. The films that comprised this group were Steven Spielberg’s man-on-the-run science-fiction action thriller Minority Report, Sam Mendes’ historical gangster melodrama Road to Perdition, and M. Night Shyamalan’s moody alien invasion drama Signs. All were high grossing and wide releases,1 star vehicles, and genre films. All showcased big name directors, and all featured narratives in which the goal of the protagonist was causally and hyperbolically linked to his fatherhood. Minority Report starred Tom Cruise as John Anderton, a guilt ridden traumatized father, struggling to solve the mystery of his son’s disappearance; Road to Perdition saw Tom Hanks playing against type as widowed single father Mike Sullivan, a small town mobster hit man determined to protect his son from his Chicago enemies after the boy witnesses a murder; and Mel Gibson starred in Signs as lapsed clergyman Graham Hess, a widowed single father protecting his children from malevolent and hostile extra-terrestrials. This presciently foreshadowed Spielberg’s later War of the Worlds (2005), which enacted the same scenario, again from the viewpoint of a lone father, played by Tom Cruise.2 Thus, in three high profile, star led summer releases, using stock genre scenarios and conventional narratives, fatherhood predominates as a structuring thematic, narrative hook, and privileged identity formation for each protagonist, 1 setting the terms and the tone for the dominant means by which Hollywood film has conceptualised postfeminist masculinities in the 2000s and beyond. These films were indicative of an emergent representational discourse that became endemic to Hollywood storytelling, ubiquitous across the genre and budget spectrum of its output, and which has prompted a near wholesale paternalisation of Hollywood’s leading men and the stories that are told through their onscreen subjectivities. The thematic prominence of fatherhood in these films, far from being bounded by the texts, instead extends to the realm of the paratextual, and beyond. Rather than a purely textual phenomenon, it instead permeates wider social and cultural discourse, colouring these films’ marketing, critical reception, and the popular commentary that circulated around their releases. This is commensurate with what Amanda Ann Klein, in her foundational treatise on the topic, outlines as the pattern of events that prompts the emergence of film cycles, which she argues takes place as part of specific historically located social and cultural discourses.3 In this way, for example, promotional stills and poster campaigns that presold films like War of the Worlds, The Pursuit of Happyness (2006), Martian Child (2007), Taken (2008), The Hangover (2008), The Road (2009), Due Date (2010),Somewhere (2010), and What To Expect When You’re Expecting (2012) to name only some, accentuated the paternal angles of these films, foregrounding fatherhood as a theme and prominent selling point, and anchoring their marketing, as postfeminist fatherhood has risen to discursive prominence for leading man masculinities in popular film culture to a near totalising extent. In each case, widely mediated images heavily used in the films’ campaigns signified the postfeminist fatherhood of their protagonists through their designs, and via the paternally charged (often tactile) affective displays on show. The promotional poster for The Pursuit of Happyness, to take one emblematic example, is noteworthy in this regard. It depicts a besuited father, played by Will Smith, who is the only billed star on the poster, looking down and smiling upon his young son, with whom he is holding hands, and who reciprocates affection by leaning on his father’s arm, head first. The boy is played by Smith’s real life son Jaden, which of course was a massive boon to this marketing campaign’s centralisation of postfeminist fatherhood as spectacle.4 This was consistent with the thematic and narratological centrality of fatherhood in the film itself, which, adapted from the memoir of the same name by Chris Gardner,5 narrates the American Dream from the perspective of a lone father. When his wife (Thandie Newton) leaves, Chris takes up the mantle of single fatherhood while struggling to make a living as a salesman. His dedication as a father is unwavering, as he determinedly sees his son through a period of homelessness before realising his professional potential as a stockbroker. The prominence of the paternal thematic is further compounded in the poster by its white background, which conveys no other imagery except a bright light shining behind their clasped hands, and forces fatherhood as spectacle to the top of the hierarchy of discourses at work here. Widely mediated depictions of fatherhood on the promotional 2 posters for Road to Perdition and The Road are also notable, for their strikingly similar imagery. Both depict a hand in hand father and son, walking together through driving rain, and framed at identically canted angles. Viewed alongside one another, these posters are almost duplicates of one another. This suggests to me that the tried and tested currency of selling movies with postfeminist fatherhood was such that by the 2009 release of The Road it was possible to conceive a marketing campaign centred upon lone fatherhood and make judicious intertextual references to spearheading earlier campaigns, like that of Road to Perdition, via imagery, framing, and composition. This, I would argue, corresponds with a broader discursive turn towards fatherhood as ideal masculinity in postfeminist culture. The contemporary Hollywood fatherhood film is a production cycle and cultural trend that can thus be usefully understood in relation to the postfeminist context from which it emerged. It articulates a gender discourse of postfeminist fatherhood, which is ideologically disingenuous with regard to its relationship to feminism. At the same time as appropriating a role traditionally occupied by women, through a surface discourse of involved and sensitive male parenting called for by feminists,6 postfeminist fatherhood films also shore up traditionally gender bifurcated hierarchies of agency, subjectivity, and power through a common sense veneer of postfeminist cultural logic which makes fatherhood not only culturally negotiable, but also an attractive and desirable conceptualisation of masculinity. In this way, contemporary Hollywood fathers are enabled to have their postfeminist cake, and eat it too, as fatherhood narratives allow for the privileging of masculine subjectivities, and the concomitant elision of motherhood, to be re- normalised. Frequently this takes place in the absence of the cultural double standards germane to postfeminist femininities, as the cultural currency of ‘having-it-all’ (now an anachronism of postfeminist femininity – because postfeminist culture has long averred that women cannot)7 has found renewed license, as cultural formations like the Hollywood fatherhood film render it ever more apposite and applicable to postfeminist masculinities. In thus conceptualising postfeminist fatherhood, I take as my starting point Angela McRobbie’s now canonical thesis statement, that post-feminism positively draws on and invokes feminism as that which can be taken into account, to suggest that equality is achieved, in order to install a whole repertoire of new meanings which emphasise that it is no longer needed, it is a spent force.8 From there I turn to Yvonne Tasker and Diane Negra’s assertion that “postfeminist culture works in part to incorporate, assume, or naturalize aspects of feminism,”9 thereby appearing, disingenuously, to negate the imperative for feminist critique. I hence adopt the mandate of 3 these authors to interrogate postfeminist culture and the Hollywood fatherhood film from a feminist political purview. Writing in 2007, Tasker and Negra gestured towards the critical need in feminist film and media studies to “undertake the work of beginning to theorize postfeminist masculinity.”10 Attempts have been made to conceptualise postfeminist masculinities in popular film and media culture, and these have tended to differently align them with one or the other side of a binary of reconstructed/unreconstructed masculinity, or indeed gestured towards the extent to which they attempt, coherently or otherwise, to occupy both subjectivities in an ostensible double bind of postfeminist masculinity.11 But even since the publication of these foundational